
COPYRIGHT, 1893, BY WALTER H. BAKER & CO. 



plays for /Amateur 5f?eatrieals. 

BY GSORCE 7U£. BHKER, 

Author of "Amateur Dramas," '''The Mimic Stage," "T/te Social Stage" "The Drawing* 
Room Stage" "Handy Dramas," "The Exhibition Dramas " "A Baker's Dozen" etc. 

Titles in this Type are New Plays. 

Titles in this U ype are Temperance Plays. 



DRAMAS. 



In Four A c'.s 
Better thnn Gold. 7 male, 4 female 
cli.ir • 

/// Three A cts. 

unr F'«ll<s. 6 male, 5 female cha:-. 

The, Flower of the Family. 5 
male. 3 female char 

En 1 1 step fok the War. 7 male, 3 fe- 
male char 

My Brother's Keeper. 5 male, 3 fe- 
male char c . . . 

Th- Little. Tiro ton Jay, 5 male, 3 
female char , . . . . 

In Two A cts. 
Ahove the Cloud*. 7 male, 3 female 

char . 

One Hundred Years Ago. 7 male, 

4 female char 

Among the Breakers, 6 male, 4 female 

char 

Bread on the Waters. 5 male, 3 female 

char 

Down by the Sea. 6 male, 3 female 

char. . 

Once on a Time. 4 ma|p, 2 female char. 
The J^HSt Ztoafi 5 male, 3 female char. 

In One Act. 
otand r.v the Flag. 5 male char. . . 
1'he Tempter. 3 male, 1 female char. 

COMEDIES AND FARCES. 

A. Mysterious Disappearance. 4 

male, 3 female char. ....... 

Paddle Your Own Canoe. 7 male 

3 female char. . , 

,1 Drop too Much . 4 male, 2 female 

char , . . . - 

A I. title More Cider. 5 male, 3 fe- 
male char 

A Thorn Among the Roses. 2 male, 6 
female char. 

Never ^ay Die. 3 male, 3 fema> char. 

Seeing the Elephant. 6 male, 3 female 
char. . . „ 

The Huston Dip. 4 male, 3 female char. 

The Duchess cf Dublin. 6 male, 4 fe- 
male char. ......... 

Thirty Minutes for Refreshments. 

4 male, 3 female char. ...... 

We're nil Teetotalers. /, mrJe, 2 fe- 
male char 

Male Characters Only. 
A Close Shave, 6 char. ...... 

Lie Benefactor. 6 char. , . . 
A Se/» of Troubles. 8 char. .... 



COMEDIES, etc., continued. 

Male Characters Only. 
A Tender Attachment. 7 char. . . 
Coals of Fire. 6 char. ...... 

Freedom of the P'ress. 8 char. . . . 

Shall Onr Mother* Voti? 1 1 char. 
Gentlemen of the Jury. 12 char. . . 
Humors of the Strike. 8 char. . . . 

My Uncle the Captain. 6 char. . . . 

New Brooms Sweep Clean. 6 char. 
The Cheat Elixir. 9 char. . . . . . 

'I'm' Hypochondriac. 3 char 

1 he. Man Willi, the Demijohn. 4 

char 

The Runaways. 4 char 

The Thief of Time. 6 char 

Wanted, a Male Cook. 4 char. ... 

Female Characters Only. 
A Love of a Bonnet. 5 char, .... 

A Precious Pickle. 6 char 

No Cure No Pay. 7 char 

The Champion of Her Sex. 8 char. 
The Greatest Pi.ai.uk in Like, 8 char. 
The Grecian Bend. 7 char. . . . . 

The Red Chignon. 6 char 

Using the Weed. 7 char 



ALLEGORIES. 

A rrangedfor Music and Tableaux. 

Lighthart's Pilgrimage. 8 female 
char 

The Revolt of the Bees. 9 female 
char 

The Sculptor's Triumph, i male. 4 fe- 
male char. 

Tin; Tournament of Idylcourt. 10 fe- 
male char. . 

The War of the Roses. X female char. 

The Voyage of Life. 8 female char. 

MUSICAL AND DRAMATIC. 

An Original Idea, i male, 1 female 

Bonbons; or, the Paint King, 6 male, 
1 female char . 

Capuletta; or, Romeo and Juliet 
Restored. 3 male, 1 female char. 

Santa Claus' Frolics 

Snow-bound; or, AlonzO the Brave, 
and the Fair Imogene. 3 male, 1 
female char. 

The Merry Christmas op the Old 
Woman who Lived in a Shoe, . . . 

The Pedler of Very Nice. 7 male 
char. ...... 

The Seven Ages. A Tableau Entertain- 
ment. Numerous male and female char. 

Too Late for the Train. 2 male char. 

The Visions of Freedom, ii female 
char 



WALTER H. BAKER & CO., 23 Winter St„ Boston. 



Sublime and Ridiculous 



& Nrgro Set 



AS PERFORMED BY SCHOOLCRAFT AND COES 



ARRANGED FROM THE ORIGINAL AS FIRST PRODUCED IN SAN 
FRANCISCO, JUNE, .S64 



BY / 

GEORGE H. COES 



( V 0C1 ^1893 
BOSTON 



189: 



CHARACTERS. <? 

(San Francisco, June, 1864.) / r 



TRAGEDIAN Walter Bray 

JULIUS, a comedian Billy Birch 

MANAGER Geo. H. Coes 

Time of representation, 20 minutes. 




Copyright, 1893, by Walter H. Baker & Co. 



REMARKS. 

There are a great many good points that can be introduced into this act, so that the 
performer need not confine himself strictly to the text, especially in all of the Tragedian's 
businesa. Any words he can think of to introduce without interfering with the speeches 
from " Hamlet," so much the better; and even in the scene with the Manager, it can be 
changed after they become familiar with each other. This act was a tremendous hit in 
San Francisco, and was a favorite act at all times. — Geo. H. Coes. 



TMP92-008891 



SUBLIME AND RIDICULOUS. 



Scene. — A Wood in 3. 

{Enter Manager, l. 2 e.) 

Manager. Now, I've just got my new theatre completed, and my 
company engaged, except one man. I want a light comedian. If 
I could only find some one out of an engagement, I could do well 
by him. 

{Enter Julius, l. i e., hurriedly, and cross to R. ; Manager 
stops him.) 

Man. Hallo, young man, where are you going? 

Julius. I'm going down street here to work. I got a job. 

Man. What kind of a job? 

Jul. I'm an artist. 

Man. What kind of an artist? 

Jul. I'm a painter. 

Man. Oh, you're a painter, hey? What are you going to 
paint? 

Jul. I'm going to whitewash a fence. 

Man. I think I can give you a better job than that. 

Jul. Can you? What is it? 

Man. Did you ever act? 

Jul. Yes ; I acted like a thundering fool this morning. 

Man. No, no; I mean, did you ever act upon the stage? 

Jul. You just set behind four horses with me once, and I'll take 
you over the summit, faster dan Hank Monk did Horace Greeley 
when he went to California. 

Man. No, no ; I don't mean a stage-coach, I mean a stage 
where they act — where they represent Shakespeare, Lord Byron, 
and all them great writers. 

Jul. Yes, Shakspoke, Bay Rum — oh, yes. I know; you mean 
z.freatre stage. 

Man. Now, I want a light comedian. 

Jul. What, to light lamps ? 

Man. No. I want a man to plav light parts. 

Jul. Well, I'm a pretty good shape. {Shows himself.) How 
will I do? I'd make a healthy lover. 

3 



4 SUBLIME AND RIDICULOUS. 

Man. Your shape is all right ; how's your study? 

Jul. Oh, I'm gay on the study. 

Man. Now listen. I have just got my new theatre done and 
my company all engaged, and I'm going to open in the play of 
■"Damon and Pythias." 

Jul. Who'll pity us? 

Man. Don't you understand ? " Damon and Pythias." Did 
you never see that play ? 

Jul. Yes ; how does it go ? 

Man. I'll tell you. Now, I want you to play the part of Lu- 
cullus. 

Jul. Look-all-of-us ? Who's he? 

Man. Listen ; I'll explain this piece to you. 

Jul. Go it. 

Man. Now, you see, Damon and Pythias are two great friends. 

Jul. Yes ; they'll lend each other nineteen dollars on a twenty- 
dollar gold-piece any time, won't they? 

Man. But Damon has committed some great offence against his 
state, and he is arrested, tried, and sentenced to death. 

Jul. Poor fellow ! 

Man. After he receives his sentence, he asks permission to 
visit his family, who reside some fifteen or twenty miles in the 
interior. 

Jul. Yes, I know ; out here in {local). I know where it is. 

Man. Pythias agrees to remain as hostage for Damon. 

Jul. Oh, Pythy, he's a hostler. 

Man. No, no; that is, Pythias remains in Damon's stead, so if 
Damon doesn't get back in time, Pythias hands in his checks. 

Jul. Why don't he put 'em all on the jack, and call the turn? 

Man. The court gives Damon fifteen minutes to go and come 
back. Damon has a horse, and you are his servant, Lucullus. 
You are very much attached to him. He gives you lots of money, 
clothes, etc. 

Jul. He does, hey? Well, couldn't he advance me a few 
stamps ? I could play this part much better with a little encour- 
agement. 

Man. Oh, he'll give you lots of it. Now, when he arrives out 
at his house — 

Jul. Yes, out in {local name, as before). ' 

Man. He gives you his horse to hold ; and, while he is gone 
into the house, you kill his horse, because you don't want your mas- 
ter to be killed. So you kill his horse so he can't get back to be 
executed. 

Jul. But where is the horse? 

Man. Oh, he'll have a horse. Well, after he has seen his 
family, he comes out to where you are, very much excited, and says 
to you, " LuculluSj where's my horse ? " and you say, " I slew your 
horse." 

Jul. Yes, but I ain't got the horse. 



SUBLIME AND RIDICULOUS. 5 

Man. But you will have in the play. He says, " Luciillus, 
where's my horse?" and you say, " I slew your horse; 1 ' and that 
is all you have to do. Now I will personate Damon, to show you 
how he will come on. You stand over there (r. of stage), and I'll 
go here. Now look out and recollect your cue. 

(Manager exits r. 2. e., and rushes on tragically .) 

Man. Lucullus, my horse ! 
Jul. Hey? 

Man. Hey? Did I tell you to say hey? I told you to say, " I 
slew the horse." 

Jul. Yes ; but I ain't got no horse. 

Man. Well, can't you suppose you slew the horse? 

Jul. Oh, yo'u want me to suppose I slew your horse ? 

Man. Yes. 

Jul. Well, go it again. 

{Exit Manager as before) 

Man. Now be careful this time. {Rushes on as before) 
Lucullus, where's my horse? 

Jul. I suppose I slew your horse. 

Man. {very mad). Can't you say, " I slew your horse," without 
the suppose? 

Jul. Of course I can. What's the use of getting mad? 

Man. Now I'll show you once more. Now look out. {As 
before.) Lucullus, my horse, my horse! Quick, I say! My 
horse ! 

Jul. I slew your horse without the suppose. 

Man. {very mad j both walk across stage). Oh, get out! You 
won't do at all. I can't learn you anything. 

Jul. Give me one more chance, and if I don't do it this time, I 
hope to borrow a half a dollar of you. 

Man. Well, one more chance. Now recollect — I slew your 
horse. 

Jul. What you want is, you want a straight slew. 
• Man. Yes. 

Jul. Well, now you go it again. 

Man. {exit as before, and enter). Lucullus ! Quick, my horse ! 

Jul. I — slew — your — horse! 

Man. There; that's it. {Both shake hands.) 

Jul. Oh, I knew I could suit you, only give me a chance. But 
what do I get for slewing de horse? 

Man. Well, if you play this well, I give you fifty cents the first 
year, and at the end of that time, if you'd like to stay, I'll raise you. 

Jul. Fifty cents a year? 

Man. Yes. 

Jul. And I suppose if I'm prudent and economical and saving, 



6 SUBLIME AND RIDICULOUS. 

in the course of ten or fifteen years Til have as much as a dollar 
or so. 

Man. Oh, you'll have lots of money throwed on to you by the 
audience every night. 

Jul. Will I ? {Looks at audience.) Don't throw now, for I 
couldn't accept it no way, just now. {Dodges, as if some was com- 
ing.) Don't ! don't! 

"Man. Well, what do you say ? Will you take the engagement ? 

Jul. Well, boss, I don't care if I do try this job for a year or 
two. But where is this rooster I am to be with? 

Man. Rooster ? He's no rooster ; he is a splendid actor. He 
is now down stairs in the Green Room. I'll go and tell him to 
come up, and you can rehearse the piece right here. {Is going.) 

Jul. {catches Manager and pulls him back). Say, what kind 
of a chap is this? Is he robust? What does he Ho to me when 
I say, " 1 slew your horse " ? Does he touch me ? 

Man. Oh, yes ! He's very powerful, and gets very much excited. 
He comes on and grabs you this way {takes Julius by both coat 
collars), and chucks you up in the air two or three times, throws 
you down on the stage, juggles you around, and breaks an arm or a 
leg. Why, he has been known to kill twenty or thirty men playing 
this piece ! 

Jul. Good-morning. {Turns to go!) 

Man. Hold on ! What's the matter? 

Jul. Come to think, I don't believe I. could suit him. 

Man. Oh, I was only joking. 

Jul. Was you, though ? 

Man. Yes ; that's all. He's very weak. 

Jul. Very weak ? {Braces up.) 

Man. Very sick. 

Jul. Is he very sick ? 

Man. He don't weigh more than seventy-five pounds. 

Jul. Is that all? {Squares off a la Sullivan.) 

Man. Yes. 

Jul. He is very sick, is he? Has he had a doctor? 

Man. Why, yes; he's had a doctor five times a day for four 
weeks. 

Jul. He must be sick. 

Man. Yes. 

Jul. Show him up. {Very brave!) 

Man. All right. Now recollect your cue. 

Jul. Oh, I'm all right. I can lick any sick man that don't 
weigh more than seventy-five pounds. Show eleven of 'em up. 
{Looks off k.) 

{During this time Tragedian enters, L. 2 E., and stands c. of 
stage with domino. As soon as Julius sees him, he throws off 
domino, and both strike attitude. Then Julius retires down to 
r. of stage, and Tragedian immediately commences " Hamlet's 
soliloquy.' 1 '') 



SUBLIME AND RIDICULOUS. 7 

Trag. Angels and ministers of grace defend us. 

Jul. (to audience). He looks very healthy for a sick man. 

Trag. Be thou a spirit of health or goblin damned — 

Jul. You be damned yourself. 

Trag. — Bring with thee airs from heaven or blasts from hell — 

Jul. He's crazy. 

Trag. — Be thy intents wicked, or charitable — 

Jul. I've got nothing for you ; go about your business. 

Trag. — Thou com'st in such a questionable shape that I will 
speak to thee. 

Jul. He's going to say something. 

Trag. I'll call thee Hamlet. {Kneels.) 

Jul. Gimlet ? 

Trag. King! 

Jul. He calls me King. 

Trag. Father ! 

Jul. Go away ; I ain't your fader. Nice-looking father I'd make ' 

Trag. Royal Dane. 

Jul. Royal dame — ha, ha, ha ! 

Trag. Oh, answer me ; let me not burst in ignorance — 

Jul. Bust, if you want to. 

Trag. — But tell me why thy canonized bones, hearsed in death, 
have burst their cerements — 

Jul. You'll get spearmint if you fool with this child. 

Trag. — Why the sepulchre, wherein we saw thee quietly in- 
urned, hath op'd his ponderous and marble jaws to cast thee up 
again. 

Jul. Oh, what's the matter with you ? 

Trag. What may this mean? What may this mean, that thou, 
dead corse, again, in complete steel, revisitest thus the glimpses of 
the moon, making night hideous, and we fools of nature, so horridly 
to shake our disposition with thoughts beyond the reaches of our 
soul? Say, why is this? 

Jul. I don't know. 

Trag. Wherefore ? 

Jul. What for? 

Trag. What should we do? 

Jul. Go about your business ; don't bother mc. 

Trag. (rises, still looking on in vacancy, turns to Julius). The 
fair Ophelia — 

Jul. Fair old-feel-yer — ha, ha, ha ! 

Trag. Nymph, in thy orisons be all my sins remembered. 

Jul. Go away; I'll mash you. 

Trag. {getting excited) . I never gave you aught. (To Julius.) 

Jul. Who said you did ? 

Trag. Are you honest ? 

Jul. Yes, certainly I am, you bet. 

Trag. Are you fair. 

Jul. No, I'm a Peruvian. 



8 SUBLIME AND RIDICULOUS. 

Tkag. I loved you not. (Walks around stage.) 

Jul. I — don't — care — 

Trag. Get thee to a nunnery. (Walks around stage., 

Jul. Get you to a grocery. 

Trag. Why wouldst thou be a breeder of sinners? 

Jul. I ain't. 

Trag. I am myself indifferent honest ; but yet I could accuse 
me of such things, that it were better my mother had not borne me. 
I am proud, revengeful, ambitious, with more offences at my beck 
than 1 have thoughts to put them in, imagination to give them shape, 
or time to act them in. What should such fellows as I do, crawling 
between heaven and earth ? We are arrant knaves, all ; believe none 
of us. Go thy ways to a nunnery — go. 

Jul. Oh, if I could only get out of this. 

Trag. Where's your father ? 

Jul. He's in the State Prison. 

Trag. Let the doors be shut upon him ; that he may play the 
fool nowhere but in his own house. 

Jul. Oh, he's barred in — for ninety days. 

Trag. If thou dost marry, I'll give thee this plague for thy 
dowry : be thou as chaste as ice — 

Jul. I've been chased long enough. 

Trag. — As pure as snow — 

Jul. S-no use of getting mad. 

Trag. Thou shalt not escape calumny. Get thee to a nunnery 

— go. ( Walks around stage.) 
Jul. Get you to a bummery. 

Trag. I've heard of your paintings, too, well enough. Heaven 
hath given you one face, and you make yourselves another ; you 

Jul. No, sir. 
Trag. — You amble — 
Jul. You lie. 

Trag. — And you lisp and nickname Heaven's creatures, and 
make your wantonness your ignorance. Go to! I'll no more of it 

— it hath made me mad. (Crosses L.) 

Jul. Why don't you go to the insane asylum ? 

Trag. I say, we will have no more marriages. 

Jul. You better not let the ladies hear you. 

Trag. Those that are married already, all but one, shall live ; 
the rest shall keep as they are. 

Jul. Get, you, you old bummer! Look here, I'm getting mad. 
Now look out for me ; I ain't going to stand this no longer. 

Trag. (grabs Julius a la Othello). Be sure thou prove my love 
a wanton. Give me the ocular proof, or, by the worth of thine 
eternal soul, thou hadst better been born a clog, than answer my 
waked wrath. (Throws Julius across; all tills time Julius can 
say whatever he likes ; it is to be worked up very melodramatic 
until this last speech is over. Trag. retires up stage and looks off 



SUBLIME AND RIDICULOUS. 9 

R.; Julius takes stage L., looking at Trag., much frightened. 
Trag. advances to centre of stage.) 

Trag. By the powers., the sun is rushing down the west. 

Jul. Let it rush. 

Trag- (turns to Julius). Lucullus ! Quick, my horse ! 

Jul. Hey? 

Trag. My horse, Lucullus, my horse, I say. 

Jul. Oh, what was dat I had to say? 

Trag. Lucullus, my horse. 

Jul. I — I — I — slewed your horse. 

(Both strike attitude.') 

Trag. Merciful powers ! I'm standing here — 

Jul. So am I. 

Trag. — To see if the powers will with their lightnings execute 
my prayer upon thee. 

Jul. Execute ! He's a butcher ! 

Trag. Come ! ! 

Jul. Police!! 

Trag. Come!! (Grabs Julius.) 

Jul. Let go of me now — police ! 

Trag. To the eternal river of the dead, the way is shorter than 
that to Syracuse. 

Jul. Let go of me! Murder! murder!! 

Trag. With one fling I'll hurl thee to Tartary, and follow, and 
follow after; away. (Throws Julius to c. of stage and exit. He 
lavs there until Trag. is off, then sets up and looks offL.) 

Jul. I slewed your horse ! (Gets up and shakes himself; feels 
if any bones are broken.) He's a sick man, hey? He's the 
healthiest sick man I ever see. He's stronger dan an elephant. 

(Enter Manager.) 

Man. Well, Julius, how did you get along with that fellow? 
Jul. (carelessly). Oh, first-rate. 
Man. How do you like him as an actor? 
Jul. Oh, he can't act. 

Man. What? You surprise me ! Why, he has the reputation 
of being one of the greatest actors on the stage. 
Jul. Oh, he's a bilk ; he can't act. 

(Manager and Julius turn aside and wink at audience.) 

Man. What did he do when he came in? 

Jul. Oh, not much. He came in here putting on a few scol- 
lops. He tackled me a few minutes, and I flopped him. 
Man. What's that ? 
Jul. I flopped him. 
Man. What do you mean ? 
Jul. I catched him thus. (Catches himself by the coat-collar.) 



IO SUBLIME AND RIDICULOUS. 

And thus. (Catches himself by the seat of his pants!) And do 
you see that window ? {Looking off L.) 

Man. Yes. {The same time going off slowly R.) 
Jul. I chucked him right through that window. {Exit Man- 
ager.) 

Trag. {outside, very loud) . Lucullus ! ! ! 

(Julius falls upon stage, and Trag. comes on; both face each 
other, then back off to first entrance.) 

Trag. Remember me ! {Exit.) 
Jul. I'll never forget you. {Exit.) 

CURTAIN. 



Baker's Monthly Bulletin. 



TO MEET MR. THOMPSON. A Farcical Sketch in One S<!ene. 

By Clara J. Dentun. E ght female characters. Scene, a parlor, very simple; 
costumes modern, and all requirements very easy. An admirable drawing- 
room piece. Plays fifteen minutes. (1890.) 

. PLACER COLO; or, How Uncle Nathan Lost his Farm. A 
New England Drama in Three Acts. By David Hill. Ten male and five 
female characters. Scenery, not difficult ; costumes, modern. This comedy- 
drama of New England life is of the general class to which "Old Jed Prouty'" 
and "Joshua Whitcomb" belong. Its scenes, characters and humor are rustic ; 
its interest, simple but strong. Uncle Nathan is a strong part. Gipsy, the waif, 
is an admirable soubrette, as good as "M'liss." Mike and Joe, good Irish 
comedy characters. (1890.) Price, 25 Cents. 

M~S. WILLIS' WILL. A Comic Drama in One Act. Five female 
characters. Scene, a rustic interior, very easy. Costumes, everyday and eccen- 
tric. This piece has an excellent plot, and is very funny. Few plays for female 
characters only are as satisfactory in performance. 

INN iSFAIL ; or, The Wanderer's Dream. A Drama of Irish Life 
in lour Acts. By Richard Qcinn. Seven male and three female characters. 
Scenery not difficult ; costumes of the period. This piece is interesting in story 
and depicts Irish patriotism, sentiment and humor, with truth and vigor. The 
character of Felix is an admirable one, the player assuming many disguises in 
course of the action. Effie (lead)and Mary Anne tsoubrette>are both good parts; 
Benner (heavy) and Con o' the Bogs (heavy comedy) very effective. (1880-1890.) 

CHUMS. A College Farce in One Act. By the author of "Class Day." 
Three male and two female characters. Scenery and costumes, very easy. Tom 
Burnham wears ladies' costume throughout the piece, and all the characters 
may be played by men, If desired, as in the original performance by Graduate 
Members of the Pi Eta Society, of Harvard College, at Beethoven Hall, Boston, 
February 29, 1876. A very funny piece and a sure bit. (1890.) Price, 25 Cents. 

WHEN THE CURTAIN RISES. A collection of short plays for 
parlor performance. By Clara J. Demon. The plays in this collection are 
short, bright and easy to get tip, just the thing for the " Home Theatre." No 
scenery is needed, and no costumes that do not hang in every one's closet. Con- 
tents : The Man who went to Euhope. A Comedietta in One Act, for four 
males and two females. All is Fair in Love. A Dr.. ma in Three Scenes, for 
three males and two females. " W. H." A Farce in One Act, for one male and 
three females. A Change op Color. A Drama in One Act, for two males and 
three females. To Meet Mr. Thompson. A Farce in One Act, for eight fe- 
males. (I.s90.) Price, 25 Cents. 

BOUND BY AN OATH. A Drama in Prologue and Four Acts. By 
David Hill. Six male and four female characters. Scenery, not simple, but 
easily simplified ; costumes, modern. This is a strong and stirring melodrama of 
modern life and times. The comedy element is furnished by a negro and a quaint 
old woman's part. Elias, the "oath-bound," is a strong part; Setb is a good 
light comedy villain, and Jacob a strong "heavy" part. (1890.) Price, 25 Cents. 

THE CRANCER; or, Caught in his own Trap. A Comedy in 
Three Acts. By David Hill. Eleven male and two female characters and 
6upers ; six male characters only being important. Costumes modern and ec- 
centric rustic. Scenery may be made elaborate or simple, according to circum- 
stances. John Haymaker is agood character, new to the stage, and full of rustic 
'minor and shrewdness. Alvin Joslyn, as played by Mr. Davis, comes nearest to 
it in flavor. The other characters are excellent, generally rustic types and those 
of low life in the city, where the incidents of "The Granger's" second act 
occur. The story is original in idea, and of great humorous possibilities. Just 
the thing for a Grange entertaiment. Can be played with the simplest accessa- 
ries, yet will amply repay care in getting up. (1890.) Price, 25 Cents. 

THE BOOK OF DRILLS; Part First. A group of entertainments 
for stage or floor performance. By Mary B. Horne, the author of "The Peak 
Sisters," etc. Containing : A National Flag Drill (as presented by children 
in Belmont, Mass., at a Fair given by the Arachne, in December, 1888. Also as 
given by ten young ladies of the Unity Club in Watertown, Mass., Feb. 22, 1889); 
The Shepherd's Drill; The Tambourine Drill (as given at a Rainbow 
Party by twelve little girls of the Third Congregational Society, Austin St., 
Cainbridgeport, May 2, 188s'); The Mother Goose Quadrille (as danced at 
the Belmont Town Hall, May 10, lt89). (1889.) Price, 30 Cents. 



Baker's Monthly Bulletin. 



THE OLD-FASHIONED HUSKING BEE. An Old Folks' 
Entertainment in Oue Scene. By NkTTIK II. PKLHAM. ror eleven male and 
five female characters, and as many more as desired. Scene, the Interior of a 
barn, easily arranged; costumes old fashioned. Plays forty minutes or more, 
according to number of songs and specialties Introduced. Very easy to get up, 
and very funny. An excellent introduction for a dance, supper, or sociable, where 
a mixed entertainment is desired. (1891.) Price, 15 Cents. 

A VISION OF FAIR WOMEN. A Dramatic Paraphrase In One 
Scene. Based upon Tennyson's " Dream of Fair Women." By Edith Lvnwood 
Winn. Thirty-nine girls are called for, besides the *' Dreamer " who has the 
vision; but a smaller number may be used, at pleasure, by simply reducing the 
number of tableaux. No scenery Is required, and the costumes can be easily 
contrived by home talent. This is a very picturesque and enjoyable entertain- 
ment, and by giving a large number of pretty girls a chance to look their best, is 
sure to please them and every one else. (1891.) Price, 15 Cents. 

JOINING THE T'NPANITES; or, Paddy McFi.ino's Expert- 

KNCE. PAHT I. A Mock Initiation for the amusement and instruction of Secret 
Societies. Adapted to all orders, and containing nothing to offend any secret 
organization. By David Hill. For thirteen male characters and supers. 
Scenery ^unimportant, the stage representing the interior of a lodge-room. 
Costumes, burlesque regalia, l'lavs forty-live minutes. This is an uproariously 
funny travestie of the forms of initiation, and Is just the thing for a lodge-room 
entertainment. Any number of men cau assist as members, etc. (1891.) 

Price, 15 Cents. 

JOINING THE TINPANITES. Part II The second Degree of 
this popular Burlesque Order. Characters, scenery, and costumes same as in Part 
I., of which it is a continuation. Can be played Independently, or In connection 
with Part I., which it naturally follows, but without in the least depending upon 
it. (1892.) Price, 15 Cents. 

JOINING THE TINPANITES. Part IN. The Third and Highest 
Degree of this laughable "side" Order. Characters, scenery, and regalia, tho 
same as in Parts I. and II. Like the other two, can be given as an independent 
Mock Initiation, or as the third part of a more elaborate ritual. ( 1892.) 

Price, 15 Cents. 

THE CHAPERON. A Comedy in Three Acts. By RACHEL E. BaKKB. 

Fifteen female characters. Scenery not difficult. Costumes, tennis gowns and 
modern street and evening dresses, with picturesque Gypsy costumes for Miriam 
and Jill. Time in playing, two and a half hours. Tins clever play of life at 
school and in society continues the series of plays for ladies so admirably begun 
by " Rebecca's Triumph," and is deservedly popular. It unites refined fun with 
a strong dramatic story, and is at once amusing, interesting, and picturesque. 
(1891.) Price, 25 Cents. 

THE SPY OF GETTYSBURG. A Drama in Four Acts. By 
CHARLES Townsknd. Eight male, three female characters. Time of playing, 
two hours and thirty minutes. Scenery, two interiors. Costumes, modern and 
military — easily arranged. This is one of the best war dramas ever published, and 
is especially suitable for amateurs. It is full of bright fun and soul-stirring 
incidents. The interest is awakened at the outset, increases with each act, and 
the final climax brings a whirlwind of applause. The characters are all first- 
class. Solomon, the negro, is one of the most laughable darkey characters ever 
seen in any play. The incidents of this play cluster about the tremendous strug- 
gle at Gettysburg, and depict the adventures of the hero while acting as a 
scout for General Meade. The book contains a chapter of special interest, giving 
careful instructions regarding the style, make-up, and costuming of each 
character. (1891.) Price, 35 Cents. 

PROF. BAXTER'S CREAT INVENTION; or, Old Maids 
Made Nkw. A Farce Comedy iu One Act. By Mary B. Horne. For three 
male and three female characters. Modern every -day costumes. Scenery of the 
very simplest character. Plays about an hour, or longer, according to specialties, 
songs, etc., introduced. This entertainment is a decided novelty, and is excru- 
ciatingly funny. First-rate Irish soubrette part, and capital comic old man. 
Prof. Baxter's patent process for making old people young again suits everybody, 
both on the stage and off. (1891.) 



AN ENTIRE NOVELTY. 



THE GREAT MORAL 

Dime Show 

AH ENTERTAINMENT IN ONE SCENE, 

By MARY B. HORNE, 

Author of "The Peak Sisters," Prof. Baxter's Great Invention," 

'•Tin; Book of Drills," "The Carnival of Days," 

"Plantation Bitters," Etc. 



Nine male, seven female characte<'S. Costumes simple; scenery an ordinary 
interior, or may be dispense*! with altogether. Plays from half an hour upward, 
according to the number and character of additional specialties introduced. 
Printed exactly as first performed by the Unity Club, "NVatertown, Mass., on 
Friday evening, February 5, IS'Jl'. 



This must amusing entertainment is a burlesque of the ordinary "ditne- 
mv.seuin,'' so-called, but is entirely devoid of the vulgarity of its original) ;i"<i 
perfectly adapted to church or home performance-. The characters are, save the 
lecturer and her assistant, a wonderful collection of "freaks" of nature (some- 
what assisted by art i who sing, daner or recite, according to their special 
abilities, in illustration of the explanatory leetu e. It is most elastic in its 
requirements, can be played on an} stage or platform , with or without scenery, 
and with a greater or smaller number of characters, according to taste or 
necessity. 1 1 can be made uproariously funny, and is in character as well as fact 

A SEQUEL TO THE PEAK SISTERS. 

Price, 15 Cents. 



SCENE. — The exhibition hall of Sister Keziah's Show. Sister Keziah's intro- 
ductory lecture, Johnathan, the bashful assistant. Introductory hymn. 
introduction of the "freaks." DANIEL McGrlNTY Tedimvus. Daniel's song 
Jj i IA Z\RATE, the celebrated Mexican dwarf. KIOTO, the shortest man 
alive, not financially. The wonderful MERMAID. The Mermaid's song. 
CASSIUS WHITE, the ossified boy. A "rocky" recitation. Kallilu, the 
only specimen of his kind in capt ivity; illustrated by cuts. SlGKOK GalASSI, 
the celebrated Glass -Eater. Galassi sings, Allegro Pen seroso, the won- 
derful two-headed girl; not to be confounded with the more common two- 
faced girl. Two ways of eating a pickle. Ida and Ione. the Grecian 
maidens. RAPHAEL Tintoret, the blind painter, who paints blinds in full 
view of the audicce. Alf CHIN and Wrv Lcxo, the Chinese twins, ex- 
tremely well connected from birth. " The Land of Tea." KA-FOOZLE-FUIU, 
the Turkish vocalist. Grand finale and curtain. 



B 



LIBRARY OF CONGRESS 

11111111111111111)1111111111. 

016 102 717 W J 

AKER'S SELECTED LIST 
OF JUVENILE OPERETTAS 



Designed especially for Church, School, and other Amateur Organ- 
izations. Complete, with all the music and full directions for 
performance. 

Grandpa's Birthday. In One Act. Words by Dexter Smith; 
music by C. A. White. For one adult (male or female) and three 
children; chorus, if desired. Price, 25 Cents. 

Jimmy, The Newsboy. In One Act. Written and composed by 
W^ C. Parker. For one adult (male), and one bt>y. No chorus. 
Very easy and tuneful. Price, 25 Cents. 

The Four-leafed Clover. In Three Acts. By Mary B. Horn'e. 

For children of from six to fifteen years. Seven boys, seven girls, 
and chorus. Very picturesque. Prick, 50 Cents. 

Beans and Buttons. In One Act. Words by Wm. H. Lepeue; 
music by Alfijed G. Robyn. Two male and two female characters; 
no chorus. Very comical and easy. Price, 50 Cents. 

Hunt the Thimble. In One Act. Words by A. G.Lewis; music by 

Leo R. Lewis. Two male, two female characters and small chorus. 
Simple and pretty. Price, 50 Cents, 

Red Riding Hood's Rescue. In Four Scenes. Words by J. E. 
Estabrook; music by J. Astor Broad. Three male, four female 
characters and chorus. Price, 50 Cents. 

Golden Hair and the Three Bears. In Five Scenes. By J. Astok 
Broad. Three adults (2 m., 1 f.), eight children and chorus. Music 
is easy, graceful, and pleasing. Price, 75 Cents. • 

R. E. Porter ; or, The Interviewer and the Fairies. In Three 
Acts. Words by A. G. Lewis; music by Leo R. Lewis. Six male, 
six female characters, and chorus. Very picturesque and pretty. 

Price, 75 Cents. 

Gyp, Junior. In Two Acts. Words by Eare Marble; music by 
D. F. Hodges. Two males, one female (adult), three children and 
chorus. Very successful and easily produced. Price, 75 Cents. 

AlvinGray; or, The Sailor's Return. In Three Acts. Written 
and composed by C. A. White. Ten characters, including chorus; 
can be made more effective by employing a larger number. 

"Price, 75 Cents. 



Catalogues describing the above and other popular entertain- 
ments sent free on application to 

WALTER H. BAKER & CO., 

THEATRICAL PUBLISHERS, 

No. 23 Winter Street, - Boston, Mass. 



